Australian Viola da Gamba Society Newsletter Spring 2016 www.avdgs.org.au www.facebook.com/groups/161476953911759
WELCOME! VIOLS IN IRELAND
A warm welcome to all members of the Australian I’m writing this at the end of a month in Ireland. Viola da Gamba Society to the Summer 2016 edition There are viols here, but they tend not to join the of the newsletter. Thanks to contributors to this main societies in England and America, keeping a edition. low profile. But, once you’ve found one, you find others. How the year has got away from us! Apologies to all members for the delay in getting to this newsletter to In Dublin I had the pleasure of playing with Andrew you. John was away overseas for two months Robinson, who has been one of the main teachers of this year (in June and September) and Patrice has viol in Ireland for some years. He also composes, has also been away overseas. It’s been hard to find the edited recorder music, and he teaches a local choir time to collect and then lay out the newsletter for with ukeleles! He’s retired now, but with his wife and you. niece, plus her husband, they have a consort, and also play with other local friends. We did two sessions: This edition of the newsletter, however, is packed one playing duets on various sizes of viol (he owns with interesting reading as we come into spring. seven), and comparing our various discoveries of Rosemary Parle, who died this year, is remembered favourite repertoire. The next evening I made up in two obituaries; Patrice reports on her visit to the a five part consort, playing Coperario, Lawes and Irish Viol and Recorder Course; Michael O’Loghlin Scheidt, all of which was very enjoyable. The house gives us an insight into the newly rediscovered was also really interesting. It was about 150 years old, Telemann fantasias for solo viol; Heidi Gröger and when it was built, the young Ernest Shackleton reports on the Schloß Seehaus workshop on the (yes, THAT one) lived in it for a few years before the music of Jenkins; Jenny Eriksson reflects on her family moved to London. It has a blue plaque on the recent visit to Sweden; and we have photos from the outside to prove it. Easter Viol School and other events. There are also the minutes of the AGM, held at the Viol School, and From there I went to sell music at the 45th Irish the financial records presented at the AGM. Recorder and Viol Course, at An-Grianan in Termonfeckin, County Louth. With approximately 76 We hope you enjoy the newsletter! attendees, about 18 of them were viol players. They came from Austria, Germany and England as well as around Ireland. There were six tutors, including Ibi —JOHN WERETKA AND PATRICE CONNELLY Aziz who taught at our Easter Viol School in Sydney in 2012, and also Emma Murphy, Phillip Thorby and others. At each session, all tutors needed to spend half their time with one group then go on to another.
Meals were amazing, though laden with potato. At least two types served both lunch and dinner had some of us wondering, but I was told “It’s an Irish thing”. We were waited on by the most efficient and Various entertainments were staged; at one dinner pleasant kitchen staff I’ve ever encountered. Nothing we were serenaded by a loud band, consisting of was too much trouble, and the meals were pretty three cornetti and three sackbuts, of which four solid. Compared with one or two (un)memorable instruments were played by women. There was a gastronomic experiences I’ve had at some US early sandcastle building competition on the nearby beach music courses over the years, this was definitely a on Tuesday, and a Ceilidh on Thursday night with highlight. dancing and some amateur dramatics.
The setting is lovely too. An-Grianan is a sort of There was an arranger’s competition. Six entries community centre run by the Irish Countrywomen’s were judged by the tutors on Thursday, with some Association, and the music course takes over the very direct comments (helpfully meant, but perhaps whole place for a week. Surrounded by trees and confronting to some of the participants) given before lawns, and, as I found all over Ireland, hanging the winner was announced. baskets of flowers, it’s a very pleasant place to spend The only drawback was appalling wi-fi. I had to take a week. Some of the classrooms are a bit pedestrian, the phone and laptop a fair distance to reception but groups also used the drawing room, conference early in the morning to conquer the nine hour time room and the Kellogg Hall (so named because difference between Ireland and home. Because of the the Kellogg Foundation donated money for its thick tree cover surrounding the building, the signal construction) which are very elegant places to play. is very weak. As I was selling, I didn’t take part in any of the tutored sessions. I did give a few free viol lessons, But for someone contemplating a trip to Ireland and got to know lots of people. At night there was around August, give the course a go. Very smoothly choir, and that was followed by massed playing until run by Pamela Flanagan (whose mother Pat was one 9.30. The whole day here runs much later than we’re of the founders of the course), it’s a fun week with used to, with breakfast only starting at 8.30 and the some extremely friendly faces. Just do pack warm tutored sessions ending at 6pm. clothes and an umbrella though. As usual with these trips, I ran at a loss on sales, but as at least half the participants hadn’t heard of Saraband Music, I remedied that on the first night by making an announcement during the intros. They are all now very aware of Saraband Music, and I’ve had plenty of people sidling up to me either confessing that they have visited Australia, or asking about workshops here.
— PATRICE CONNELLY The space itself and the extraordinary organisational skills SCHLOSS SEEHAUS MASTERCLASS 2016 of the course organiser made it possible not only to take part in the consort ensemble sessions and one-on-one An idyllic hidden castle, five days, thirteen musicians, 23 lessons, but also to work on the extremely extensive and violas da gamba, and a thousand resonances. The fourth challenging range of chamber music that John Jenkins masterclass for viola da gamba at Schloss Seehaus took as wrote for formations of varying sizes, facilitated by a its theme the chamber and consort music of John Jenkins comprehensive set of instruments which were made (1592–1678). The organiser, Heidi Gröger, succeeded in available to the participants. So it was possible, for attracting a very special maestro to lead the masterclass: example, to work on the divisions for two bass viols and Laurence Dreyfus, founder and director of the renowned organ, the fantasia-suites for treble viol, two bass viols gamba consort Phantasm. Masterclass participants and organ, and the lyra viol consorts for treble, bass, savoured the chance of gaining a close insight into lyra viol and keyboard. In the wonderful acoustics of the ‘professional’ consort playing and had ample opportunity castle’s chapel these pieces were successfully steered by to discuss mood, scores, tuning, as well as to learn how accompanist Eveyln Laib. this kind of ensemble rehearses. For example, they learned that Phantasm performs using their own editions, The evening educational programme consisted of an without bar lines. This way of playing was adopted during impressive teacher’s concert and lectures about the history the course and, although new to some of the participants, of the music being played during the course as well as it led to an instant simplification of the phrasing and the practical aspects of performing such music. On two increased musicality in the consort. occasions, Laurence Dreyfus reverted to his other role as a professor of musicology and gave fascinating lectures Divided into two groups, the participants arrived having based on his personal research. At the end of the course, prepared in advance the five- and six-part fantasies and all these elements came together in a final concert, with pavanes that they had received beforehand. Heidi and contributions from the teaching team centred on a Laurence took it in turns to lead the groups, occasionally selection of consort and chamber music pieces studied also leading the sessions together. during the week, enhanced by a historically informed and interesting introduction to the pieces given by Jochen Thesmann. One thing is certain: when Jenkins’ ghost is awoken, it is no longer possible to make it disappear, which is why another Jenkins masterclass with Heidi Groger has been programmed, for those who have fallen under the Jenkins charm, and for all those who wish to do so.
24-28 February 2017, D-93087 Alteglofsheim (Bavaria) Seminar: Course in Baroque dance, Recorder, viola da gamba, cembalo, lute, Baroque violin with Heidi Groger (viola da gamba) (masterclass and consort (Jenkins)) Info: http://www.barocktanz.com/fasching-gambe.html
— HEIDI GRÖGER ROSEMARY PARLE OBITUARIES being introduced to the beautiful sound of gut strings on the baroque violin but that’s another story.) Nick was Rosemary Parle was a woman of extraordinary talent and is an extraordinary gifted player: his understanding with a desire to live life to the full. Rosemary’s passion for of style, technique and sound production was unusually music brought her into contact with many lifelong friends sophisticated for those days but I soon noticed that and professional musicians. This eclectic circle were all Rosemary had a similarly refined sense. I was amazed to part of an adventure which involved creating music, discover that Rosemary had more or less taught herself to building instruments and celebrating music in the special build harpsichords and other early keyboard instruments ‘Rosemary Way’. and so perhaps it was no wonder she felt quite at home in that world. Rosemary loved all music but was especially passionate about early music. She built several harpsichords for Their house was overflowing with early instruments: professional players and friends. The harpsichord she virginals, harpsichords, organs, recorders, crumhorns, built for the Macquarie Baroque players was greatly loved viols; seemingly thousands of early music LPs and by many performers and delighted their audiences. Her books…and people! Everyone involved in the early son Nicholas Parle, now a professor of harpsichord at the music scene seem to have been there and Rosemary was Hochschule in Leipzig, was brought up on Rosemary’s famously a hostess with the mostess for her fabulous instruments and again showed their beauty in many early music parties. Whatever Rosemary threw herself concerts. into, whether it was making a delicious pumpkin soup, building a chamber organ or writing a thesis on Rosemary loved the viol and she was a devoted consort psychological perceptions of music of the spheres, it was member. Mastering Jenkins and Lawes was a commitment with great gusto and often much hilarity. she shared with lifelong friends. Many years later when I became interested in the viol, Being a part of groups such as the gamba society and the Rosemary immediately offered her treble on a short-term Early Music Association meant that Rosemary could be loan. I was soon conscripted into Ruth Kelly’s Friday involved, and also help so many people in their search for night viols group where, thanks to Rosemary, we sampled knowledge and enjoyment of early music. equal parts Jenkins, Lawes and exceptionally nice wine… Admittedly this did get a little out of hand sometimes! Making music at home was very important for Rosemary I raise my glass to you now Rosemary, wherever you and many have shared her wonderful hospitality where are, wishing you the best of everything: hoping you are music brought together such a wide variety of people hearing heavenly music played heavenly, high in the from all walks of life. heavens…
Early music in the 1970s and 1980s was in its early — BROOKE GREEN stages and Rosemary was at the heart of its development particularly with her work in harpsichord building. The foundations she has helped lay have a set a very vibrant scene in Australia.
Rosemary will be treasured as an innovator with an enormous capacity for giving and sharing and most importantly as someone who brought people together in the most special way through music.
— KAREN CAREY
Rosemary Parle was a vivacious mover and shaker in the Sydney early music scene and so many of us benefited from her generosity and kindness. But most of all, Rosemary was simply fun to be around.
I first met Rosemary in the early 1980s, through my friendship with her son, the harpsichordist Nick Parle. We were both students at the University of Sydney’s Bachelor of Music and it was partly because I was often Nick’s page turner that I became caught up in the world of early music and period instruments. (There was the small matter of REDISCOVERY AND PUBLICATION OF THE LONG- of the adagio introduction in the dominant, but then LOST TELEMANN FANTASIAS FOR BASS VIOL SOLO Telemann inverts the second subject, turning it into that ubiquitous Baroque rhetorical statement, the descending Hidden away in a North German archive for 280 years, chromatic fourth, also known as passus duriusculus. It the FANTAISIES pour la BASSE de VIOLLE by Telemann occurs again in the disguised version, but taking us back have been found! A 1735 catalogue announced the to the tonic. Around these main themes, the movement publication of these works, but until now no copies is a compendium of typical Baroque rhetorical devices — were known. I’ve been playing through these for the last batteries, scale passages, broken chords, style brisé, pedal couple of days, and they are I believe the most exciting point, broken chords — but each visited only briefly so find for gambists since the rediscovery of the Berlin Sing- there is no question of boring repetition or sequences. Akademie archive in 1990. Each of the 12 fantasias has This movement would reward a much more detailed a different key, and seems to have a different character, analysis than this, but it never sounds academic. from the Bach-like complexity of the C minor through the straightforward beer-drinking honesty of the B flat I could go on, but I won’t. This is a really varied and to the rustic charm of the G major. These works are in interesting set of pieces by one of the finest masters. The two or three movements, whereby the typical three- many players who love the numerous existing gamba movement forms, both slow-fast-fast and fast-slow-fast, works of Telemann — the solos with basso continuo, the predominate. Within these designs is an astonishing trios, quartets and concertos — will surely welcome the variety of styles and topics, from highly intellectual filling of this final gap in the repertoire. counterpoint (including a fugue in the C major) or implied counterpoint to simple binary dance forms. There The twelve fantasias by Telemann have been published is a high level of double-stopping throughout, but it is by Edition Güntersberg in both facsimile and modern so well-written for the viol that it is hard to imagine that edition with a long and informative foreword in German Telemann was not a skilled player of this instrument. and English by the German scholar/gambist Thomas Outside of the French violistes, I can’t think of a composer Fritzsch. Thomas has also recorded the entire set. whose works are challenging enough to be interesting for the advanced player, but lie so well under the fingers. Less http://www.guentersberg.de/noten/en/g281.php advanced players will also find very playable movements here. DISCLAIMER: I had no involvement in the preparation of this edition, but I do work with Edition Güntersberg as In almost every fantasia, the first movement is the an editor on other projects. This article is not a review, but most highly developed and interesting structurally and rather an honest personal opinion. musically. It is usually followed by a couple of shorter, lighter binary movements, which may present fewer — MICHAEL O’LOGHLIN technical challenges but still offer splendid and varied musical experiences. I’ll offer a brief discussion of the first movement of the Fantasia No 1 in C minor, because its first page can be found on the publisher’s website (see below). This movement has a tonic-dominant polarity at different levels simultaneously. It’s in two sections, each comprising a short adagio introduction and an extended allegro main section. There are two main subjects, the first being a strong arpeggio statement in adagio which appears in the first bar in the tonic and is immediately repeated in the dominant, finishing on a rather confronting bare tritone which is not mellowed into a nice dominant seventh by any other chord notes. The second subject, also in the tonic C minor but in allegro, is a rising chromatic fourth which sounds like it will be a fugue subject but isn’t. As early as bars 6 and 7 the two are brought together, the first transformed into the allegro tempo and the second cleverly disguised as the higher voice of an implied two-voice chromatic passage, but already in the dominant! This is followed a section of discursive tonality with many beautiful and subtle passages which would not be out of place in the sonatas and partitas of J.S. Bach, and the section cadences in the dominant. The second section commences with a repeat IMAGES FROM THE 2016 NATIONAL EASTER VIOL SCHOOL
Thanks to Patrice Connelly for all images!
Miriam Morris leads the beginners’ class.
Lisa Terry leading the large group rehearsal.
Simon Rickard puts a group through its paces!
John Weretka, Peter Hawkins, Janet Norman, Lyn Hawkins and Victoria Watts rehearsing White’s Fantasy à 5 with two basses.
Lisa Terry leads a consort group playing one of Byrd’s motets.
Miriam Morris and one of the beginners’ consorts.
Lisa Terry leads one of the big group rehearsals. CHRISTOPHER SIMPSON – AYRES AND GRACES Chelys Consort of Viols with Dan Tidhar and James Akers, BIS-2153 SACD
This is a lovely CD from the Chelys Consort, comprising Ibi Aziz, Alison Kinder, Emily Ashton and Jennifer Bullock, with guests on keyboard and theorbo/baroque guitar. The repertoire is twenty ayres for two trebles and two basses, plus four sets of divisions, two for two bass viols (F major and C major), and two for treble and bass viol (both A minor). The viols have been strung in plain gut throughout.
The recording follows publication of the20 ayres by the VdGS GB in 2010, and the group was commissioned to make the recording in 2013, though the CD was not issued until 2015. Shades of the delay in issuing the second edition of Simpson’s Division viol during Cromwell’s era!
The ayres are arranged into the equivalent of five mini-suites of dances. This is not easy music, but it is very competently and musically performed by the players, and makes for an exceptionally pleasant listening experience.
The booklet notes are succinct, in English, German and French, and contain some photos, as well as illustrations from the Division viol. Total time is Peter Hawkins, Rachel Walker and Laura Vaughan in 59’39”. action. AVdGS Nov16_Layout 1 01-Nov-16 8:54 AM Page 1 — PATRICE CONNELLY
More new viol music is here ... SM130 & 131 The Treble Viol Book, Vols 1 & 2 $22 each. A great and varied collection of unaccompanied pieces, dances and songs for treble. SM129 Spanish Renaissance Viol Consorts for TrTBB (or TrBBB if a bass reads alto clef). $33 Diego de Pontac, Cabezon, Mudarra, Anon and others. SM127 9 Trios for Tenor Viols. $33 Music by Lupo, du Caurroy, Weelkes, Willaert, Foucart and Hingeston. The only tenor viol trio book I know of! SM126 Banchieri: Two Canzonas for TrTTB viols. $13.10 La Rovattina & L’Ardina - two lively canzonas sure to please an audience Lots more Saraband Music viol editions available SM123-5 Trios from the Deep. Vols 1 & 2: TBB, Vol 3: TTB. $33 each book. including many exciting solos, duos and consort Vol 1 is a miscellany; Vols 2 & 3 are Fantasias. Lupo, Bassano, Anon etc. editions. Plenty of viol music, consorts, voices and SM122 Sweelinck: Praeludium. $11 A keyboard work in 4 parts arr. for viols, and viol-related chamber music from other TrTrTB viols. Gorgeous piece and not too difficult. publishers, plus gut strings, rosins and now, SM121 Gombert: Changeons Propos, for 6 viols (alt. parts provided for affordable baroque bows for all sizes of viols, flexibility) $22. Text for the madrigal provided. Good for voices & viols violins, violas & cellos SM121 Carreira: Fantasia in La-Re. $11 For TrTrTB. Great piece! See the website for sample pages, extensive catalogues, articles and free download viol pieces. Saraband Music is now a local agent for Charlie Ogle’s viols. Made in the Contact: [email protected] or Beijing workshop, they’re quality viols at a good price. Details on my website 07 5496 3439 Saraband Music www.saraband.com.au THE MARAIS PROJECT AND SOUNDS BAROQUE: Stockholm’s famous Drottningsholm Slottsteater, MUSIC-MAKING AND FACT-FINDING IN the oldest functioning Baroque-era opera house SCANDINAVIA in Europe. The stage equipment, for example, has Musical ambassador meets a real ambassador never been updated except for the lighting. In terms of early music, this is really authentic. On a tour I am just back from three weeks of concerts, through the building last year I actually got to work workshops and musical ‘fact finding’ in Sweden and the thunder machine backstage, which consists of Norway. Although my grandfather was Swedish a bunch of rocks rumbling around in a large, metal and I have visited many times over the years, this box. They limit the number of performances in the was the first time I have performed professionally Slottsteater so as to lessen the impact on what is a there. Besides appearing with some great players I fragile, timber building. enjoyed visiting two amazing artistic institutions: the first being Stockholm University College of Music The Swedish viol scene Education (Stockholms Musikpedagogiska Institut, When I visited Sweden last August I met up with a SMI) which is headed by an Australian, Ian Plaude, number of local viol players including Australian and the second, Norway’s RijksKonsertene (Concerts Keren Bruce, who is now back in Melbourne, and we Norway), whose leader is an American, Scott Rogers. even played a day of consorts together. The contacts Concerts Norway presents more than 9,000 concerts I had made came in handy when my gamba arrived per year across Norway’s schools and local regions late, having had an unscheduled holiday in Dubai. I and, increasingly, in several European countries. was thus able to borrow an instrument for rehearsals At SMI I got to present a concert, which was while frantically dealing with the airline, whose attended by the Australian Ambassador to Sweden, customer service practices left much to be desired! Gerald Thomson, with our recently assembled early The overall standard of the early music scene in chamber music group. What a surprise, although Sweden is high. For our first concert I was privileged I had met him in 2015. I then gave a workshop on to work with Annastina Malm, mezzosoprano, baroque music for string players. For those interested Kristine West, a very talented flute and recorder in obscure instruments, at SMI I played for the player, Katarina Bengtson Dennis, a gifted Baroque first time with thenyckelharpa, a Swedish keyed violinist married to a Baroque violinist, and Simon fiddle that is popular in both folk and, increasingly, Linné, theorbo, who is a joy to play with. They made contemporary music. (Just as an aside, one of the me feel incredibly welcome. Kristine and Katarina finest nyckelharpa players of the new generation is are both runners so we had that in common as well. Emilia Amper, whose CDs are available online.) The viol and the nyckelharpa sounded great together Toward the end of my trip I also met Leif Henrikson, although the poor guy had to tune down to 415. an accomplished Swedish viol player. Leif is, by coincidence, a long-term friend of Australian/ At Concerts Norway, however, I was simply a Swedish lutenist, Tommie Andersson, having shared welcome colleague. I greatly appreciated the four a house with him in Basel when they were students hours (!) Concerts Norway Director Scott Rogers there. Leif studied viol with Jordi Savall in Basel and I spent with me and the time his producers gave to am pleased to have been given several of his CDs that answering my questions. I am currently enjoying listening to. Drottningsholm Slottsteater We can never stop innovating
In between my time in Sweden and Norway I was So what did I learn? Being a professional musician is invited to a dress rehearsal of Don Giovanni at tough everywhere — including Europe — but I was struck, as I have been before, by how committed the Scandinavians are to ensuring their culture is not left behind in a rush for efficiency and economic success.
We also have to continue to be bold and innovative in all that we do. In some areas of the arts, such as early music, we can consider our approach in Australia to provide a lead. I took back to Sweden several of my group The Marais Project’s arrangements of jazz, and even Swedish folk music, and the audiences loved them! (Tommie Andersson did the arrangements). Several people told us that our first performance is Stockholm — which sold out — was the best early music concert they had been to. The audience loved the creative programming and the chance to hear old instruments perform newer music. Concerts Norway are unique
As to Concerts Norway, there is much to learn in so many ways. Their approach to presenting fine music of all kinds to kids is leading edge. I’ve been a proud part of Musica Viva in Schools for more than 27 years so I know a bit about this topic. Our Musica Viva in Schools group, Sounds Baroque, consists of two singers, harpsichord and viola da gamba. Over the years I have given some 2,200 concerts for school children introducing them to Baroque opera, opera- style voices, the viol family and the harpsichord. Yet one of the Concerts Norway producers really challenged me to change my thinking on the very basics of how we have gone about constructing shows for children in the past.
In summary, I had a great time professionally and personally. Special thanks to my musical colleagues and to my gorgeous, generous relatives who put me up, and put up with me, in Stockholm and Oskarshamn.
— JENNY ERIKSSON
Thanks to Jenny Eriksson and Philip Pogson for the photos of Jenny’s tour to Sweden on this and the following page.
MASTER AND PUPIL — THE MARAIS PROJECT exemplary.
Throughout the concert the short musical items were ThePrelude in Tea concerts in the Independent Theatre at presented by varying permutations of performers that North Sydney are an especially civilised way of spending a provided continually refreshing changes to the sound Sunday afternoon. A substantial afternoon tea is provided palate. Many of the items were played by Jennifer Eriksson prior to an enticing series of concerts. and Catherine Upex as viola da gamba duets. In these The Marais Project generally strives to present programs they displayed their close rapport, developed over years that add a novel dimension to the music they perform. of close collaboration. Their phrasing was expressive and TheirMaster and Pupil concert took as its starting point at times moving. Their tuning, intonation and ensemble the 1990s French filmTous les matins du monde that were all impeccable. Their performances underlined the featured Gerard Depardieu and his son Guillaume. The fact that music written 300 years ago can speak directly to film explores, in a fictionalised way, the relationship an audience today and evoke the same emotions as it did between the two sixteenth-seventeenth century French then. masters of the viola da gamba, Jean de Sainte-Colombe For most of the concert Tommy Anderson provided and Marin Marais. discreet but sympathetic accompaniments to the other The concept of this concert was for actor James Fraser to performers. In his own solo theorbo transcription of recount the story of the film, interspersed with musical Marais’ Le Rêveuse, however, he had an opportunity to items. The major question posed by the film and Fraser’s display his individual musicianship, creating a mood of dramatic re-telling concerned the relationship between introspection and deep longing. performing artists and their art and audience. Is the The prevailing mood of the music throughout the prime responsibility of artists towards their art or to their programme was reflective and often poignant, audience? Do artists need to sacrifice part of their art in demonstrating the same sense of melancholy that order to reach their audience? These questions are, of permeates the music of the contemporary Englishman course, unanswerable, but the journey of exploration was John Dowland. In Fraser’s words ‘art speaks when words highly involving. do not’. The concert concluded, however, with a spirited The text that Fraser prepared was dramatically lively rendition of Marais’ Chaconne en rondeau that ended and often established a charged atmosphere. With his this often dramatically intense performance on an upbeat careful sense of timing Fraser developed a momentum note. that became dramatically absorbing and the theatrical — LARRY TURNER effects were heightened by atmospheric stage lighting. for SoundsLikeSydney© Unfortunately, the dramatic flow of the narrative was published 31 May 2006 somewhat undermined by intrusive audience applause after each musical item. Reproduced with the kind permission of SoundsLikeSydney The music that interspersed the narrative was by the two protagonist composers and a few of their contemporaries. These items were carefully selected to heighten the sense of the drama. The printed program quoted Robert Fripp: ‘music is the cup that holds the wine of silence’ and this was amply exemplified by excellent performances from all involved.
Musically, the concert again demonstrated the superb playing of the members of the Marais Project. The acoustic of the attractive Independent Theatre is clear and warm and it allows the performers to establish a congenial intimacy with their audience.
The concert opened with two earlier Frenchchansons excellently sung by soprano Belinda Montgomery, who is a stalwart of Sydney’s early music singing world. These successfully captured the style and spirit of the French chanson. Montgomery’s clear tone and natural projection, her true intonation and expressive sense of line were excellently suited to all the music she sang. Her choice of ornamentation was idiomatic and her execution PLAYING THE VIOL Frets and the natural underhand bowing are relatively As a teacher of stringed instruments, when approached easy for beginner viol players to relate to. The delayed for lessons I have certain stock questions. Invariably when gratification of achievement for both adults and the request is to teach a child and I am speaking to a children is far less compared with non-fretted stringed parent, having found out the age, gender, and the school instruments. I make the comparisons to new students that the child is attending, one of my first questions is about bowing, comparing the similarities with chopsticks whether they are learning the piano. When the reply is and soupspoons. While it helps to have played a modern in the affirmative I am pleased for the following reasons. stringed instrument to start with, it really is a moot The piano is an ideal instrument to learn the rudiments point. One can also argue that prior tuition on the viol of music and it provides a good basis for aural training, would help the initial stages of playing one of the modern both of which are good stepping-stones to learning stringed instruments though this is something I haven’t another instrument. The visual component of learning yet come across in my own teaching experience. One a keyboard instrument should not be underestimated. of the main challenges for the beginner viol player is Other instruments that fall into the above categories are supporting the instrument. Unlike the cello, the viol does the fretted instruments, namely the guitar and the viol or not have an endpin. Viola da ‘gamba’ literally means ‘leg’ viola da gamba family. viol. Supporting an instrument held either in the lap in the case of the trebles, a little lower with tenor viols It should be understood that this article does not favour and between the calves for the bass needs very careful any particular instrument over another but can be seen as monitoring, especially with adult beginners, having observations garnered over the years of my teaching the short practices at the outset. Using new muscles in a new viol family. When asked to teach the viol to an adult or a posture cannot be taken lightly. My Chinese doctor was child I may well ask the question about the piano but it is very helpful on this matter. He compared the viol to the more likely that this will be a general question as to what Chinese instrument, the erhu, especially in relation to other instruments they might have played. The experience bowing and holding the instrument. He told me how, as of playing any previous instrument will feed into the in tai chi, the changing balance, and posture of the body playing of the new instrument in one way or another. in relation to the legs and feet is the first skill that is taught The reasons for opting to play a lesser-known instrument to the aspiring erhu student. such as the viol over – say – that of the violin family, the recorder or the guitar are various. The singular timbre There is much original Renaissance repertoire to play and clarity of the viols, the repertoire of renaissance and from the outset. Like the recorder or the piano, a student baroque music (though there is now a growing amount can come out of the first lesson having played a piece. I of contemporary music) and not least the ease of the bring beginner gamba players into the school ensemble early steps which are undoubtedly helped by frets and around the third lesson. The social element for adults underhand bowing. Maybe the viol was first heard at a and children alike cannot be overestimated. While the concert or, as is the case with some of my cello students, polyphonic part writing of much renaissance consort they have seen and heard me playing. music is highly sophisticated and satisfying for players and listeners alike, the separate parts are often very Having taught all the instruments of the viol family with simple. Simple homophonic dance music of the period the exception of the violone both privately and in groups abounds and the historical background to the repertoire and single lessons at schools, universities and workshops, is fascinating. All this lends itself to intellectual as well as I can safely say that the early learning process is easier musical stimulation and again, earlier inclusion in groups and quicker than with the instruments of the violin of all ages. family. A defining psychological factor, especially for the adult beginner, is that unlike his modern counterpart in In the late nineteenth and twentieth centuries it was usual the violin family, students often begin at tertiary level to start the viol at a mature age, and sometimes but not or beyond. I have however introduced viols at primary always in one’s undergraduate years. The viol was and still and secondary levels in Australia and there is a growing is, to a lesser degree, a non-mainstream instrument. Only interest at these levels in the US and the UK in particular. relatively recently has the viol and early music in general However this is still somewhat exceptional in comparison reached comparative acceptance in tertiary institutions to the volume of young players of the modern violin while in primary and secondary education it is still family. Since my beginnings in the 1970s there are far relatively rare. There have been school programmes in more opportunities to study in Europe at post-graduate Europe and the UK, certainly since the 70s, while I started level. There are also early music competitions. Most programmes in Australian schools in the mid 80s. There importantly, for geographically isolated countries like are also several programmes in the US. Australia, there are rapidly growing opportunities for young professionals returning to their homeland from For my school programmes I commissioned specially overseas to start making a living as viol players. designed, robust viols which, like guitars, have machine heads for tuning, thereby cutting down on the tedious grown up in an authoritarian system akin to the master physical problems of orthodox pegs, especially hard to and apprentice, I remember, on arriving in Belgium for use when tuning gut strings which are far less stable than my studies with the master player and teacher Wieland the synthetic strings habitually used on the modern violin Kuijken, his first words were, ‘Welcome to the family of family. The viol is a relation of the guitar and follows the viols!’ This is not to put down any modern counterparts same intervals of tuning unisons to frets with fourths in a negative vein but I can’t imagine the equivalent and thirds in the middle compass making the process comment coming from Heifetz or Casals. relatively easy. However, in this day and age of digital tuners, the ability to tune efficiently requires little or no The popularity of early music as can be seen in terms of skill, something that I regret. public concerts, recordings and broadcasts is palpable, leaving little doubt of growing interest from the public In 1990, in conjunction with my recorder colleague at large. The future of the viol in particular depends on Lynton Rivers, we took a group of students from North encouraging the growth of interest leading to new players Adelaide Primary School to the ISME conference in joining our ranks. Canberra where we gave a workshop/demonstration that was attended largely by string players and teachers. The The Australian National Easter Viol School is an annual children, while they were apt and keen students, were not event that is hosted in a different state each year. This exceptionally high flyers at the viol. The proficiency and year professional musicians specialising in instruments independence of their ability to tune with machine heads other than the viol were invited to attend the course was remarked upon as was the standard and confidence in Melbourne. As beginners they were to be given free of playing that they had achieved at an early stage. Topics tuition on the viol from Good Friday to Easter Monday. for discussion included playing with frets and employing Initially it was thought that I would take the full class. underhand bowing (though this is a separate topic). The However, numbers exceeded all expectations and Laura more recent advent of interplanetary pegs (brand name Vaughan joined me, taking half the participants. An Pegheads) are a great invention for all string players appreciable number of these ‘professional beginners’ have though I have yet to experience these. continued to play, swelling the numbers of viol players in both quality and quantity. This is both exciting and Whereas it was common practice in the Renaissance encouraging, boding well for the future of this beautiful to play the viol with no prior musical experience, the instrument. likelihood of this occurring in the present day is far less likely. I have had a lot of students who have come to the — MIRIAM MORRIS viol via the modern violin family. Surprisingly (and I must admit puzzling) is that I haven’t had had the situation in reverse. I will be interested when this happens to be able to form the basis of further comparisons.
Even though there is a ‘pecking order’ with the varying standards of viol players, both amateur and professional, the divide between the amateur and the professional is less formal than in the field of modern players. The usual understanding of the word ‘amateur’ is non- professional and in my opinion can be thought of as pejorative. Translated from the French it means ‘lover’, having nothing to do with monetary gain, standard or ability, a love of something for its own sake. In Australia there are both early music societies and the Australian Viola da Gamba Society; the UK has its Viola da Gamba Society while the Viola da Gamba Society of America has a huge following. There is also much interest in Japan with the Japanese Viola da Gamba Society. There are a goodly amount of enthusiastic amateur players in all these countries who meet to play consorts. As the global viol community is, comparatively speaking, a minority group, teachers and players are invariably most welcoming, inclusive and encouraging.
I am a professional cellist, and started the viol in the UK aged 26 prior to immigrating to South Australia. Having MINUTES OF THE AGM OF THE AUSTRALIAN VIOLA DA GAMBA SOCIETY INC. 5. Treasurer’s Report: Tony Watts Treasurer’s report was received and is appended to these Monday 28 March 2016 minutes
The meeting opened at 1.50pm Moved by Peter Hawkins Seconded by Janet Norman 1. Present Carried Brooke Green, John Weretka, Laura Moore, Vic Watts, Tony Watts, Janet Norman, Rachel Walker, Chrissie Brooke Green officially thanked Tony for his work as Berryman, Lyn Hawkins, Peter Hawkins, Richard Milner, treasurer. Joan Milner, Barb Williams, Bethan McDonald, Jason Yong, Tom Helps, Dylan Quinlan-Baskett, Kaz Ross, Miriam Morris 6. Election of Office Bearers and Committee
Nominations were received and the following people were nominated: 2. Apologies and Proxies Brooke Green - President Tony Watts holds the proxy for Michael O’Loughlin Richard Milner holds the proxy for Michael Proleop John Weretka - Secretary Patrice Connelly holds the proxy for Ted Granlund John Weretka holds the proxy for Wendy Cobcroft Janet Norman - Treasurer Brooke Green holds the proxy for Jane Grimm, Sue General committee members - Laura Vaughan, Laura Christie, Cathy Upex Moore, Rosemary Evenhuis, Rachel Walker, Victoria Christine Berryman holds the proxy for Rosemary Watts Evenhuis Janet Norman holds the proxy for Laura Vaughan The Public Officer continues to be Di Ford Victoria Watts holds the proxy for Zeah Riordan Laura Moore holds proxy for Lucy Price, Elly Walker, Elizabeth Anderson, Liz Zetzman, Bonita Williams, Jacob Lawrence, Elizabeth Welsh 7. Closure of Development Fund John Weretka reported that the Development Fund has Apologies have been received from David Archer, Gemma been finalised and the bank account closed Mahadeo, Rosaleen Love, Patrice Connolly 8. Website Rachel encourages content for the web site to be 3. Confirmation of Minutes of the 2015 AGM forwarded to her. Amendments - the minutes should show that Tony Watts was present. Brooke and Laura encourage liking the Facebook page and using it. Minutes of the 2015 AGM were accepted with amendment 9. Any other business Moved by Richard Milner a. Easter Viol School 2017 Seconded by Rachel Walker The viol school for 2017 will be held in Sydney. Carried b. Variations to Memberships: Discontinuation of Three- Year Memberships; Discontinuation of Non-Electronic 4. President’s Report: Brooke Green Memberships The President’s report was received Tony Watts proposed removal of 3 year memberships because they are too complicated. It was decided to keep 3 Moved by Chrissie Berryman year memberships and find a better way to manage them.
Seconded by Laura Moore John Weretka proposed removal of non-electronic memberships. Carried Motion to cease hard copy memberships. Those with existing hard copy memberships will be notified with WORKSHOP ON THE VIOLA BASTARDA their last newsletter. A symposium entitled Stimme—Instrument— Moved Vic Watts Vokalität and a study day dedicated to the viola Seconded Laura Moore bastarda will be held between 23 and 26 November 2016 at the Schola Cantorum, Basel, Switzerland. Carried For further information, see
It was suggested that Scholarship students are asked to write a few sentences about their experiences to publish in the newsletter.
If we are going to grow on this initial program we need to follow up with instruments and playing opportunities.
d. Workshop Evaluation process
Michael O’Loghlin proposed an evaluation process for the school and the individual tutors.
Discussion considered that the viol community is a small one and we can’t have individual tutors being criticised; that evaluation of the school is unproblematic but that it is probably not not productive to ask for evaluation of tutors.
Chrissie Berryman mentioned that research shows evaluation is generally not productive and that we need to have nurture and growth at the forefront of our mind when thinking about evaluation.
It was suggested if an individual tutor wants evaluation they could ask at the end of their session as an ad hoc means of evaluation that is potentially more respectful of individuals.
Motion from Mike O’Loghlin was put by John Weretka and no one seconded.
Not carried
It was agreed that Rachel will create a general evaluation of the school using Survey Monkey.
Meeting closed at 2.46pm General Account Viol school
Balance at 1/1/14 $9,029.46 Income Income Viol school fees $9,390.00 Bank interest $36.63 Concert =cket sales $30.00 Membership fees $1,660.00 Dona=on $1,000.00 Viol school fees $9,390.00 Viol school concert $30.00 $10,420.00 Dona=on $1,000.00 Expenses $12,116.63 $21,146.09 Tutor fees $5,985.00 Tutor travel expenses $2,689.56 Expenses Venue hire $200.00 Bank fees $0.75 Overseas payment fee $42.50 Web hos=ng $144.00 Food $980.00 Domain name $20.00 Office of Fair Trading $49.00 $9,897.06 Insurance $371.10 Viol school expenses $9,897.06 Development fund $10,481.91 Balance at 1/1/14 $1,755.59 Balance at 31/12/14 $10,664.18 $21,146.09 Bank interest $37.07 Balance at 31/12/14 $1,792.66 Note: Some of the membership fees are for three years and should be counted as income for future years. Australian Viola da Gamba Society 2015 Accounts
Summary 2015 Viol school and concert receipts and expenses 2015
Receipts Payments Receipts Payments Balance B/F from 2014 $10,664.18 Dona%on (received in 2014) $1,000.00 Bank fee $1.25 Transfer from develoment fund $1,807.75 Bank interest $17.70 Viol school fees $9,105.00 Liability insurance $394.70 Membership fees $1,610.00 Accommoda%on $850.00 Overseas transfer fee $32.00 Admin fee $500.00 Transfer from development fund $1,807.75 Concert fees $1,200.00 Viol school fees $9,105.00 Concert flyer $106.83 Viol school concert %ckets $505.00 Concert %cket sales $505.00 Viol school and concert expenses $12,542.26 Food $1,336.24 Office of fair trading $50.00 Web hos%ng $144.00 Miscellaneous $145.00 C/F to 2016 $10,545.42 Rent $300.00 Travel $3,404.19 Totals $23,709.63 $23,709.63 Tutor fees $4,600.00 Viol school dance workshop $100.00
Totals $12,417.75 $12,542.26 Development Fund
Balance at 1/1/15 $1,792.66 Interest $15.09 Balance transferred at closure $1,807.75
Dispersal of Development Fund balance Funds were used to support the public concert held in conjuncFon with the viol school Performer fee: Joelle Morton $300.00 Laura Vaughan $300.00 Laura Moore $300.00 Ruth Wilkinson $300.00 Travel expenses Joelle Morton $360.00 Laura Vaughan $100.00 Rent to ANU $100.00 Concert flyer $106.00 $1,866.00 Less contribuFon from AVdGS -$58.25 $1,807.75 COMMITTEE 2015-16 Brooke Green (President) [email protected] John Weretka (Secretary) [email protected] Janet Norman (Treasurer) [email protected] Di Ford (Public Officer)
Rosemary Evehuis (Committee) [email protected] Victoria Watts (Committee) [email protected] Rachel Walker (Committee) [email protected] Laura Vaughan (Committee) [email protected] Laura Moore (Committee) [email protected]